Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Matt Brailsford used a modified old tape player as interface to this Raspberry Pi + Spotify Media Server, so listener can use the player (and the cassettes) as physical interface to the different playlists.

Emailerosion, corroding with emails.

A biodegradable sculpture, available to anyone who wants to contribute to shape it remotely. That’s how Emailerosion looks. It’s a installation conceived and built together by Ethan Ham, a sculptor, and Tony Muilemburg, a robotic designer. The sculpture is real, consists of a big block of soap, and it’ll be exhibited in the Portland Art Institute’s Gallery. But if you want to enjoy it, you have to be in the virtual territory. Sure enough you can shape its form simply sending a mail to a specific address. Depending on the mail content the sculpture, whose image is streamed online, will vary its position and will rotate, or it’ll get a splash, that’ll erode a part of it. Moreover, thanks to the online archive it’s possible to search all the modifications occurred during time, that led to the latest configuration. The work, even if it exists physically whatever the individual does, enlivens, lives and evolves as the time passes thanks to the individual actions. From being a simple spectator he becomes a co-author, becoming part of a dynamism and mutation poetics. This metamorphic ability materializes in the possibility of producing sensible modifications through virtual instruments, becoming central in the work’s existence. It constitutes the innovative core, corroding some of the art privileges, as the ‘unicum’ and the ‘absolute’. It reduces the ideological distance amongst the work of art, the observer and the environmental context, starting to connect this poles through poetics and technological resources.